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“La chica de la ventana” (The Girl in the Window) by Abraham Ángel (Mexican) - Oil on cardboard / 1923 - Museo de Arte Moderno (Mexico City, México) #WomenInArt #AbrahamÁngel #AbrahamAngel #Ángel #MuseoDeArteModerno #art #artText #arte #MexicanArt #MexicanArtist #MexicanModernism #PortraitofaWoman
Painted in 1923 by Mexican artist Abraham Ángel, this oil painting places modern femininity at a threshold between inside and outside as well as tradition and change. A young woman with warm coffee-toned skin sits with quiet self-assurance. Her eyes look intently sideways to our right ... steady, alert, and unflinching. She has short, neatly bob-styled dark hair, and her features are simplified with clear outlines and smooth planes of color. Small earrings frame her face, and a long necklace drops to her chest, adding a deliberate sense of personal style. She wears a patterned dress with short sleeves. The fabric is a bright, warm peach tone punctuated by small repeating marks. Her hands rest together at her lap, one gently crossing the other, creating a composed, calm gesture. Behind her, a large window divided into panes becomes a second “portrait” with sky and landscape like panels in a story. Beyond the glass, hills rise in simplified curves, a pale road or river cuts through the scene, and small houses and trees appear in tidy, flattened shapes. The space feels both domestic and expansive. The woman’s cropped hair, direct stare, and fashionable dress align with a decade when more women in Mexico were seeking education and work beyond the home. The portrait doesn’t sentimentalize that shift, it embodies it. The window operates as a social frame: she is presented as someone who belongs to public life even while seated in a private setting. In choosing to center women who could be read as defying expectations, Ángel may also be signaling his own relationship to social norms when he was living semi-openly with Manuel Rodríguez Lozano while building a bold, personal style shaped by the era’s avant-garde circles. The humble support (cardboard) and the crisp, flattened forms strengthen the sense of immediacy. This is not a distant academic ideal, but a contemporary person. She is watching, present, and fully allowed to look elsewhere.
February 4, 2026 at 10:50 PM
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“Ardor” by Augustus John (Welsh) - Oil on canvas / 1904 - Manchester Art Gallery (Manchester, England) #WomenInArt #ManchesterArtGallery #AugustusJohn #PortraitofaWoman #WomanPortrait #art #artText #artwork #BlueskyArt #OilOnCanvas #ArtOfTheDay #arte #OilPainting #WelshArt #BritishArt #WelshArtist
Painted in 1904, this portrait comes from Welsh artist Augustus John’s early, high-intensity years, when he was gaining fame for psychologically charged likenesses. The title “Ardor” (“burning feeling” or “intensity”) guides the emotional register. This isn’t a neutral likeness so much as an intimate study of presence. The sitter is Dorothy “Dorelia” McNeill, a central figure in Augustus John’s life and work as his partner, muse, and subject of many portraits during the 1900s. A tightly framed oil portrait shows a young Dorelia from the chest up against a soft, smoky grey ground. She turns her head slightly while looking back toward our left, her dark eyes steady and alert. Her skin is fair/light with warm blush across both cheeks as bright highlights catch her forehead, nose, and cheekbones, giving her face a living sheen. Her dark hair is swept back from a high hairline and falls in loose curls at the temples. The mouth forms a small, closed-lip smile that is more private than performative while her raised brow line and half-lidded gaze add a hint of amused confidence. She wears a black, collarless jacket fastened with small round buttons, opened to a white blouse. The paint is most precise around the eyes and mouth. Elsewhere, edges soften and brushwork loosens, letting her face emerge from shadow without hard outlines. Fine surface cracking is visible across the background and hair. Dorelia’s sidelong glance and half-smile suggest she’s in on a thought we don’t fully share. With no props, jewelry, or setting to “explain” her, the painting insists on the authority of expression. She is not softened into sweetness or decorum, but presented as self-possessed … warm, watchful, and unyielding about the boundary between observer and observed. The restrained palette of charcoal, black, muted cream, and flesh tones, intensifies that effect, through small details like the tilt of her head, the pull of light on skin, and that one-of-a-kind, almost-spoken smirk.
February 4, 2026 at 4:10 AM
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"Mary" by Ilse Martha Bischoff (American) - Oil on canvas / 1943 - Hood Museum of Art, Dartmouth College (Hanover, New Hampshire) #WomenInArt #HoodMuseumOfArt #HoodMuseum #IlseMarthaBischoff #Bischoff #BlackPortraiture #art #artText #BlueskyArt #PortraitofaWoman #WomensArt #WomanArtist #WomenArtists
American artist Ilse Martha Bischoff titled the work "Mary," and contemporary records also preserve her longer original title, "Mary (Portrait of a Negress)" using language now recognized as harmful, but historically revealing of how Black women were categorized in U.S. visual culture. The painting somewhat counters that flattening with a touch of personhood via a name, a careful likeness, and a pause that lets Mary remain unknowable on her own terms. Mary is depicted as adult Black woman seated in a curved wooden chair, shown in three-quarter profile with her torso angled left and her face turned back toward us. Her deep brown skin is modeled with warm highlights along the cheekbone and brow, while the background dissolves into smoky gray-browns that brighten behind her head, as if a spotlight were drifting through mist. She wears a loose, slate-blue dress painted in broad, soft strokes that suggest weight and drape more than crisp seams. Across her forearm lies a luminous shawl of golden bronze with cool turquoise folds with a satin-like sheen catching the strong light. Her hands rest together at her lap, fingers gently interlaced for a quiet anchor in the pose. A dark blue hat frames her face, trimmed with pink, coral, and orange flowers, green leaves, and pale blue feathers. Small light earrings glint at each ear. Mary’s mouth curves into a restrained, knowing smile, and her eyes turn slightly downward rather than meeting ours, keeping a measure of privacy inside the portrait. The left edge deepens into shadow, and the chair’s pale rail arcs behind her shoulder, emphasizing how Mary occupies space with calm, self-possessed presence. In 1943, with European travel cut off by war, Bischoff worked between Manhattan and a Hartland, Vermont home she purchased in 1942, staying committed to representational portraiture. Here, light becomes both respect and restraint to honor Mary’s style and dignity while pointing to what history withholds about her life.
February 3, 2026 at 9:39 PM
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“Mujer haitiana (Haitian woman)” by Ángel Botello-Barros (Spanish) - Oil on wood / 1940s - Museo de Arte de Puerto Rico (San Juan, Puerto Rico) #WomenInArt #MAPR #ÁngelBotelloBarros #AngelBotelloBarros #Botello #PortraitofaWoman #HaitiArt #art #artText #arte #MuseoDeArteDePuertoRico #RetratoDeMujer
Made sometime between 1940 and 1950, this portrait fits the period after Spanish artist Ángel Botello-Barros, born in Galicia, left Spain amid the upheavals of the Civil War and began working in the Caribbean. He wrote of his desire to “paint the tropics.” He was drawn to its light and saturated color, and he often returned to the human figure as his main subject. This almost square oil painting presents the face of a young unidentified Black woman. Her head turns and dips slightly forward, suggesting quiet concentration rather as her narrow eyes focus on something out of frame to our right. Her mouth is closed, with full lips in a muted brick red. Warm ochres and coppery highlights model her deep brown skin across the cheekbones and nose, while shadowed planes define the jaw and temples. Long, straight, shoulder-length dark hair falls in a smooth, graphic mass that frames her face and lengthened neck. Only a hint of clothing appears: a pale lavender top with a dark, curved neckline. Behind her, cool blue and violet strokes form an atmospheric field that is softly brushed so attention stays on her expression and silhouette. Botello favors bold contour lines, simplified geometry, and flattened color over fine detail. The reduction feels deliberate and intimate while subtle shifts from teal to purple around her shoulders create a quiet halo effect. The lowered gaze and measured planes convey dignity and interiority, even as the modernist flattening edges toward type. With the sitter unnamed, the painting asks us to be alert to the power dynamics of looking as admiration can coexist with exoticizing fantasy. Reading it with care means holding both truths while keeping the subject’s calm self-possession at the center.
February 2, 2026 at 9:56 PM
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“Martha in Her Graduation Dress” by Pierre Daura (Catalan-American) - Oil on canvas / 1946 - Georgia Museum of Art (Athens, Georgia) #WomenInArt #PierreDaura #PereFrancescDauraIGarcia #Daura #GeorgiaMuseumofArt #graduate #FamilyPortrait #art #arte #ArtText #AmericanArt #BlueskyArt #PortraitofaWoman
Painted in 1946, the work is a threshold-portrait of the artist’s only daughter poised between adolescence and adulthood, with “graduation dress” signaling achievement while the intimate scale and close cropping keep it tender and personal. Born in Catalonia and shaped by European modernism before building a life in the United States, Pere Francesc Daura i Garcia (commonly known as Pierre Daura) often returned to his family as his most enduring subject, making portraits that function like a visual autobiography. Here, a young adult Martha sits in a large chair looking down toward our right. Her light skin is modeled with soft transitions of shadow and warmth, giving her cheek and chin a quiet, lived-in presence rather than a posed perfection. Medium-brown hair is gathered into thick, smooth braids. She wears a bright white dress that catches the light and frames her neck with pearl necklace and shoulders. The simplicity of the fabric makes her face and hair the visual anchor of the composition. The background is muted and unobtrusive with earthy, gray-green tones that recede so Martha’s calm expression and attentive stillness come forward. Martha’s averted gaze creates the feeling of someone being observed in a private moment while also introducing agency and interiority. She is seen, but not claimed, and the restrained palette keeps emotion present without turning sentimental. Pierre’s wife, Louise Heron Blair Daura went to Paris to study art, painted alongside Pierre, and made striking portraits and landscapes that reveal a distinct eye that was often direct, psychologically attentive, and grounded in everyday life. Their partnership wasn’t just domestic; it was creative, too, with both artists sometimes circling the same people and subjects, showing how two different sensibilities can honor the same world. Martha was a major steward of the family’s legacy. She helped ensure that the Georgia Museum of Art became the primary custodian Daura’s work.
February 2, 2026 at 1:43 AM
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“Muchacha” (Young Lady) by Leopoldo Romañach y Guillén (Cuban) - Oil on canvas / c. 1930 - Coral Gables Museum (Florida) #WomenInArt #art #artText #artwork #LeopoldoRomañach #LeopoldoRomañachyGuillén #Romañach #LeopoldoRomanach #CoralGablesMuseum #BlueskyArt #PortraitofaWoman #CubanArtist #CubanArt
A young woman with warm light coffee skin tone is shown from the waist up against a softly mottled, blue-gray background. She faces forward with dark eyes slightly heavy-lidded, brows softly arched, and parted lips painted a warm red. Her hair is deep brown to black, cut to about chin length and brushed into loose waves that frame her face. A vivid crimson wrap or shawl, thickly painted and feathery at the edges, envelops her shoulders and upper arms. Both hands cross over her chest in a protective, self-embracing gesture with one forearm angled upward as the other overlaps it, fingers relaxed and spread wide. Light catches her skin on a wrist and knuckles. The brushwork is visible throughout with smooth modeling in the face and hands, but looser strokes in the garment, so she feels present while the setting dissolves into atmosphere. A narrow shadow under her chin and the gentle highlight along the bridge of her nose give the portrait sculptural depth alongside its study-like intimacy. Titled simply “Muchacha” (“Young Lady”), the work withholds a name, inviting us to read mood and gesture instead of biography. Her crossed arms can suggest modesty, warmth, or self-possession like an inward turn that contrasts with her distant-focused gaze. Leopoldo Romañach y Guillén, a leading Cuban academic painter and long-time professor of color theory at Academia Nacional de Bellas Artes San Alejandro in Havana, often fused European training with a local attentiveness to character. Painted around 1930, near the height of his influence as a teacher, this portrait feels like a lesson in restraint via controlled drawing in the face and hands, and expressive, modern looseness in the surrounding red cloak. Even though the woman remains unidentified in published records, her presence is memorable because the saturated red and lighter background function together almost like a halo, framing a woman who meets us as herself and on her own terms.
February 1, 2026 at 8:29 PM
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“Mary Lightfoot Tarleton Knollenberg” by Guy Pène du Bois (American) - Oil on canvas / 1935 - Florence Griswold Museum (Old Lyme, Connecticut) #WomenInArt #GuyPeneDuBois #DuBois #GuyPèneDuBois #art #FlorenceGriswoldMuseum #artText #artwork #BlueskyArt #PortraitofaWoman #AmericanArtist #AmericanArt
The sitter, Mary Lightfoot Tarleton Knollenberg, was an American sculptor. She already was gaining notice by the mid-1930s and awarded a Guggenheim Fellowship in 1933. Her career would center on modern, pared-down figures and animals, often shaped by direct carving and a searching psychological presence. Guy Pène du Bois, an American painter and influential art critic, was known for pointed observations of modern life. Here, he turns that perceptive eye inward. Set among books, Knollenberg is less as a social type than as a working artist. She is poised, self-contained, and caught in the quiet tension between public ambition and private interior life. The American artist depicts her as a light-skinned woman sitting angled on a dark sofa, her posture steady but alert. She wears a short-sleeved, V-neck blouse in warm yellow and a deep teal-blue scarf looped around her shoulders. A green skirt pools over her knees. Her blonde hair is waved close to the head, and her face is modeled with cool shadow plus rosy cheeks, pale brow, and red lips set in a restrained line. She looks off to our left rather than meeting our gaze, as if listening to someone just outside the frame. One hand rests on her lap, fingers relaxed while the other braces lightly on the seat edge. Behind her, a pale bookcase holds rows of upright, color-banded spines and a few stacked volumes, creating a quiet rhythm of rectangles. At the left edge, a patterned blanket and a partial framed picture set the calm in a private and intellectual room. The paint surface is smooth in her face and hands, with broader, more matte strokes in the clothing and background. The limited palette of yellow, blue, and green sets her figure forward against soft grays and mint tones, while the bookshelf’s tidy order contrasts with the sitter’s slightly turned shoulders and distant focus. The overall effect is of a composed woman caught mid-thought … present in her body, elsewhere in her mind.
February 1, 2026 at 7:47 AM
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“小提琴手 (The Violinist)” by 靳尚谊 / Jin Shangyi (Chinese) - Oil on canvas / 1979 - Taikang Art Museum (Beijing, China) #WomenInArt #art #artText #artwork #JinShangyi #靳尚谊 #Jin #北京泰康美术馆 #TaikangArtMuseum #PortraitofaWoman #ChineseArt #ChineseArtist #Musician #Violin #BlueskyArt #AsianArt #AsianArtist
Painted in 1979, this work is often discussed as a turning point in Chinese artist Jin Shangyi’s (靳尚谊) portrait practice when he moved from straightforward studies toward a more fully composed, self-directed image with an intentional atmosphere. Rather than depicting performance, Jin treats musicianship as character where restraint, training, and inner focus become the subject. A pared-down setting and withheld spectacle (no dramatic gesture, no bright color) shift attention to dignity and presence showing how a person carries a life of practice in the body. A poised Chinese woman sits with her face turned slightly as if listening inward. She wears a high-collared, solemn black dress like velvet, with cool blue-violet notes catching the light along the folds. Her hands are carefully modeled holding a violin bow horizontally, not in motion, as though the moment is just before (or just after) sound. The background is quiet and spare with warm gray shifting toward brown, so the her calm presence becomes the whole event. A brown violin sits on a ledge next to an elbow atop a muted, gray-green covering which anchors the lower edge, adding a restrained contrast to the dark clothing. There is no stage, no audience, and no visible violin. It’s only the musician’s stillness, her disciplined posture, and the tactile precision of face and hands. The overall mood is hushed and contained, inviting us to notice small transitions like soft highlights across her cheek and knuckles, the controlled edges around the bow, and the way a limited palette turns “black” into a spectrum of temperature and depth. Seen in the context of China’s renewed artistic openness in the late 1970s, the painting’s clarity and composure can feel like a reclamation of oil painting’s quiet powers like observation, nuance, and psychological intimacy. The “sound” here is almost visual, suggested by the attentive tilt of the head and the careful hands, so that we complete the music in our own mind.
February 1, 2026 at 12:29 AM
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“Mestiza” by Esteban Villanueva y Vinarao (Filipino) - Oil on canvas / 1875 - Museo Nacional del Prado (Madrid, Spain) #WomenInArt #art #artText #artwork #BlueskyArt #EstebanVillanueva #EstebanVillanuevaYVinarao #Villanueva #MuseoDelPrado #PortraitofaWoman #FilipinoArt #FilipinoArtist #PhilippineArt
Dated 1875, this painting is described in Museo Nacional del Prado records as an “estudio del natural” (a study from life) made at the Manila academy, part of a group of portraits by Filipino artist Esteban Villanueva y Vinarao presenting “tipos del país” (“types of the country” aka “local types”). The title “Mestiza” invokes a Spanish-colonial categorization for mixed ancestry and an “identity” shaped by power and hierarchy. It is a waist-up portrait of a young woman, shown seated and turned three-quarters looking past us rather than meeting our eyes. Her skin is warm medium-brown, with gentle highlights on the forehead, nose, and cheekbones. The modeling is smooth and careful, emphasizing a quiet, self-possessed expression. Her brows are softly arched and her lips are closed with a faint tension at the corners that can read as wary, thoughtful, or simply reserved. Dark hair is neatly center-parted and brushed back into a low bun, with a thin band of light catching along the hairline. Small gold-toned earrings glint at each ear. She wears a white blouse with vertical rose-pink stripes and broad, puffed sleeves. At the neck and sleeve edges, white lace and embroidery create a soft, scalloped border that contrasts with the crisp stripes. The paint catches the fabric’s sheen as bright along the shoulder and sleeve tops, deeper in the folds, so you can almost feel the weight and coolness of the cloth. A fine chain necklace has a square, gray medallion. She emerges from a simple backdrop of dark brown field transitions to a cooler, pale gray on the left. Villanueva y Vinarao, trained in Manila and later in Spain, paints with academic restraint rather than spectacle. The neutral ground, controlled light, and averted gaze suggest interior life, not display. Now in the Prado’s collection and on loan to Las Palmas de Gran Canaria in the Canary Islands, this portrait also reminds us how images travel while the people they picture are too often left unnamed.
January 31, 2026 at 8:00 PM
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“Le peigne blanc (The White Comb)” by Lê Phổ (Le Pho) (Vietnamese) - Ink and color on silk / c. early 1940s - National Gallery Singapore #WomenInArt #LePho #LêPhổ #Pho #NationalGallerySingapore #arte #VietnameseArt #AsianArt #art #artText #BlueskyArt #VietnameseArtist #AsianArtist #PortraitofaWoman
A young woman is shown in crisp profile facing left, her gaze directed into open space as if caught mid-thought. Her skin is rendered with soft, powdery shading rather than sharp contour, giving her face a calm, porcelain-like stillness. Long, straight black hair falls in a continuous curtain down her back, held near the nape by a small, bright white comb. One hand is lifted, fingers gently curved under the chin, while the other arm folds across the body, creating a quiet, self-contained pose. She wears a deep red outer garment over a pale inner layer;l while a narrow band of yellow peeks at the seam, adding a warm note against the cool, muted ground. Behind her, the background dissolves into mossy greens and blurred shrub forms, with the silk’s fine texture subtly catching the pigments and softening edges into haze. Painting on silk was an important medium in Vietnamese artist Lê Phổ’s practice. This work balances delicacy with structure for a silhouette that is clean and graphic, yet an atmosphere stays velvety and intimate. The sitter is not identified, and the portrait’s power comes from that restraint: rather than telling us who she is, it dwells on how she feels—composed, private, and fully present in her own interior world. The white comb is both an everyday object and an emblem . It’s a small tool of care that becomes a luminous anchor for memory, ritual, and self-fashioning. Lê Phổ’s life bridged Hanoi and Paris, and after formative study at the École des Beaux-Arts de l’Indochine and later time in France, he developed a signature style that fused Vietnamese materials with European pictorial traditions. In that hybrid space, this profile becomes more than a likeness. It is a meditation on quiet dignity and how a simple gesture, a comb, and a wash of color can hold an entire mood.
January 31, 2026 at 9:02 AM
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“Fatima” by Mrs. Lionel Lee (Nationality unknown) - Oil on canvas / c. 1886 - National Gallery of Jamaica (Kingston) #WomenInArt #MrsLionelLee #NationalGalleryofJamaica #PortraitofaWoman #arte #CaribbeanArt #BlueskyArt #ArtOfTheDay #CaribbeanArt #JamaicanArt #WomensArt #WomanArtist #WomenArtists
Painted in late 19th-century Jamaica by Mrs. Lionel Lee, a woman artist known only through her married name, this portrait holds two kinds of partial record: the sitter is identified as “Fatima,” while the painter remains otherwise undocumented. A young woman is depicted from the chest up against a shallow, softly mottled beige background. Her broad shoulders sit almost parallel to the picture plane as her head turns to our left in three-quarter profile. She has honey-brown, sun-warmed skin, dark eyes, and an alert, steady expression that stays private rather than inviting our attention. Her hair is gathered back, with loose curls escaping as long the back of the neck. A muted red head tie wraps her head high at the crown, banded with a pale strip of cloth that catches the light. A small gold hoop earring glints at her left ear. She wears an almost collarless blue-green striped tunic, slightly open at the neck, where a crisp white undergarment shows through. The paint is most finely blended in her face, while the background remains undifferentiated, keeping attention on her features and posture. This portrait is often analyzed through what it withholds as much as what it reveals. Fatima does not meet us directly. Her averted gaze can signal period ideas of feminine modesty, but it also frames the image as observational and closer to an ethnographic “study” than a society portrait. The tunic’s stripes appear irregular, as if the garment were pieced together, and scholars connect such fabric to indigo-dyed Guinée cloth, linked to laboring lives and African diasporic trade networks. Her head tie is notable for its simplicity. Instead of sharply articulated folds pictured elsewhere in Caribbean art, it works as protection: holding hair, shielding from sun and dust, and helping preserve styles made during limited free time.
January 30, 2026 at 8:38 AM
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“The Mother of Sisera” by Albert Joseph Moore (British) - Oil on canvas / 1861 - Tullie House Museum and Art Gallery (Carlisle, England) #WomenInArt #art #artText #artwork #AlbertJosephMoore #TullieHouse #VictorianArt #BiblicalArt #BritishArt #OilPainting #BlueskyArt #BritishArtist #PortraitofaWoman
British artist Albert Joseph Moore takes his subject from the Song of Deborah in Judges 5 of the Christian bible, where Sisera’s mother waits at the window and cries through the lattice, “Why is his chariot so long in coming?” The story’s outcome is grim because Sisera has been killed by Jael, yet the painting lingers on the suspended moment before certainty arrives. What we see is the labor of waiting with attention sharpened into worry and hope pressed against dread. The model is Fanny Eaton, a Jamaican-born woman who posed for artists in the Pre-Raphaelite circle, placing a Black muse at the center of a Victorian “biblical” image and complicating ideas of who embodies sacred history. It’s a close view of a woman at a window, shown from the chest up in right-facing profile. Her deep brown skin is modeled with soft, naturalistic light as a warm highlight traces her forehead, cheekbone, nose, and the edge of her lower lip, while the far side of her face dissolves into shadow. Her dark hair is smoothed back and gathered behind. She wears a pale, loosely draped garment that slips open at the throat, and a dense, collar-like necklace of clustered beads that sits heavy on her shoulders. The woman leans forward, intent. One hand rises to a wooden window frame with her fingertips hovering near a narrow grid-like lattice, as if she is about to part it or is listening through it. Behind her, the space is quiet and dark, in reddish-brown and umber tones that keep attention on her face and gesture. Her expression is both alert and strained with eyes wide, brow slightly lifted, mouth gently set, as though she is holding her breath while watching the road. Painted early in Moore’s Royal Academy career, the work shows his early gift for restrained drama, precise observation, and harmonized color. It entered Tullie House through the 1949 bequest of Emily and Gordon Bottomley, and it still reads as a tender study of maternal vigilance.
January 30, 2026 at 2:31 AM
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“Soliloquy” (独り言) by 森本啓太 / Keita Morimoto (Japanese) - Acrylic and oil on linen over panel / 2022 - Ueshima Museum (Tokyo, Japan) #WomenInArt #art #artText #KeitaMorimoto #森本啓太 #Morimoto #BlueskyArt #UeshimaMuseum #ContemporaryArt #PortraitofaWoman #Artwork #JapaneseArt #JapaneseArtist #植島美術館
A young Japanese woman stands alone at night, turned slightly in three-quarter view but meeting us with a steady, direct gaze. Her skin is light-to-medium in streetlight, with soft shadowing along her cheeks and under the eyes. She has a straight, chin-length dark bob with bangs that frames her face like a quiet curtain. She wears a light-colored oversized cardigan coat painted in warm, mottled strokes that suggest knit or textured fabric. She is the clearest anchor in the scene, yet the edges of her silhouette gently soften, as if the air itself is damp with light. Behind her, the city dissolves into luminous orbs with traffic signals and headlights rendered as floating out-of-focus bokeh in greens, teals, and amber. A roadway and curb line cut diagonally through the lower half, guiding our eyes past her shoulder into an urban night that feels familiar and strangely distant at once. Japanese artist Keita Morimoto (森本啓太) is known for treating light not as a smooth glaze but as something particulate and unstable which he captures through brushwork that can appear deliberately rough up close while holding together as convincing realism from a distance. Here, the lights become a haloing field that both isolates and protects the figure, making her feel suspended between observation and privacy. The Ueshima Museum notes his use of processed photographs as a basis for the image, and that he has referenced “magic realism” as a useful lens for this work’s gentle uncanniness depicting an ordinary street scene, tilted into a psychological space where the night seems to hum. The title is glossed as 独り言 or a “soliloquy,” self-talk that is half-thought, half-breath. It suggests that her silence is not emptiness but interior narration, held in the glow of the city. Born in Osaka, Japan and later moving to Canada as a teenager, Morimoto has consistently used modern urban illumination as a way to picture human presence and how we appear or disappear inside contemporary light.
January 29, 2026 at 3:29 AM
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“Afros and Banjos” by Charles Eady (American) - Oil on canvas / 2021 - Appleton Museum of Art (Ocala, Florida) #WomenInArt #art #artText #arte #CharlesEady #Eady #AppletonMuseumofArt #BlackArt #AfricanAmericanArt #TheUnsceneSouth #AfricanAmericanArtist #PortraitofaWoman #AmericanArt #AmericanArtist
A stylized portrait centers on a Black woman seated against a flat, velvety crimson background. She is shown from the waist up, shoulders squared and posture upright, looking directly at us with a relaxed, yet unflinching gaze. Her features are modeled in warm amber and deep brown tones plus highlights along her nose and cheekbones as shadows collect under the eyes, cheek, and chin. Her eyebrows are strong and arched. Her lips are softly closed, neither smiling nor tense. Her natural black hair forms a rounded afro that fans outward on both sides, held back by a wide orange-red headband. She wears a dark, structured jacket with narrow collar, buttoned placket, pronounced shoulders, and thin lines that trace seams and edges like a drawn outline. Down the center of the composition rises the golden neck of a banjo, with small tuning pegs near the top. A hand wraps the instrument, suggesting control and readiness rather than performance for an audience. Simplified shapes, tight cropping, and high-contrast palette make her presence feel iconic and dignified. Made in 2021, “Afros and Banjos” pairs two resonant signifiers of Black cultural memory: the afro (as a visible claim to self-definition), and the banjo (an instrument with West African roots that became central to Black musical life in America, even as it was later distorted through minstrel stereotypes). American artist Charles Eady’s broader project draws on research about free Black communities in the pre–Civil War South, and his exhibition “The Unscene South: Charles Eady Revisits History” invited viewers to reimagine who belongs in history. Here, the unidentified woman’s direct gaze refuses spectacle while the red background feels urgent, and the instrument’s upright line reads like a banner depicting music as lineage carried forward.
January 28, 2026 at 4:01 PM
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"Endomingada (In Sunday Best)" by Candido Portinari (Brazilian) - Oil on wood / 1947 - Projeto Portinari (Rio de Janeiro, Brazil) #WomenInArt #art #artText #artwork #CandidoPortinari #CândidoPortinari #Portinari #ProjetoPortinari #pintura #arte #1940s #PortraitofaWoman #BrazilianArt #BrazilianArtist
In a close-up portrait, a woman faces us, her shoulders squared and her gaze steady. Her skin is a deep brown tone against a pale, light-blue background. Brazilian artist Candido Portinari simplifies her features into bold, clean shapes like large dark eyes beneath strong brows, a straight nose, vivid red full lips, and a squared chin set on a long neck. She wears “Sunday best” clothing and adornment including a brimmed hat crowded with colorful flowers and bright red earrings striped with yellow. Her blouse is red, patterned with small yellow and blue spots, and cut high at the neck. The paint surface is smooth, with saturated reds, greens, violets, earth tones, black, and white working as accents around her face. Nothing distracts from her presence, so the portrait is intimate in scale and direct in address, inviting us to linger on expression, color, and self-presentation. Painted in Rio de Janeiro in 1947, this portrait sits in the same year Portinari was publicly engaged with politics. Projeto Portinari preserves his notes “for the 1947 electoral campaign,” written when he was a Senate candidate. Against that backdrop, the woman’s careful dress and bright jewelry could be a claim to dignity and visibility. The Portuguese title "Endomingada" names Sunday finery such as clothes chosen for rest, faith, celebration, or simply being seen. An old Paris gallery label on the reverse of the canvas recorded the title “Femme,” a reminder of how easily a woman can be reduced to a category. Portinari resists that flattening with directness via a steady frontal pose, a cool blue vibe that quiets the scene, and reds that pulse with life. As he once said, “I am a son of the red earth… I decided to paint the Brazilian reality, naked and crude as it is.” The smooth oil on wood and intimate 50 × 40 cm scale keep this encounter close ... more a face-to-face meeting than a spectacle.
January 26, 2026 at 7:58 PM
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“বিনোদিনী (Binodini)” by রামকিঙ্কর বেইজ / Ramkinkar Baij (Indian) - Oil on gunny cloth / 1948–1949 - National Gallery of Modern Art (New Delhi, India) #WomenInArt #NGMA #RamkinkarBaij #রামকিঙ্করবেইজ #Baij #BlueskyArt #ModernIndianArt #Santiniketan #artText #IndianArt #arte #PortraitofaWoman #art #IndianArtist
“Binodini” is widely recognized as a portrait of Indian artist Ramkinkar Baij’s student and muse from Manipur, Maharaj Kumari M. K. Binodini Devi who was an artist and later a major literary figure. Her presence appears across his works during his Santiniketan years. The painting is less a society likeness than a study of interior life showing how a young woman occupies space, carries expectation, and claims a self, even while the world around her feels unsettled and newly forming in the late 1940s. She is depicted as a young Indian woman with medium-light brown skin sitting close to the picture plane, her slim body folded into a compact pose. One knee rises high, creating a strong diagonal across her torso, while her shoulders tilt slightly as if she has just shifted her weight. Long, dark hair falls over one shoulder. Her softly oval face with wide, focused eyes and a small, closed mouth meets our gaze directly, giving the moment a quiet intensity. A loose pale sari crosses her chest and bunches over the lifted knee as the yellow-green garment pools around her legs. Both hands reach down toward a table at the bottom edge, fingers spread and lightly tense, as if preparing to pick up a small, light rectangle paper or magazine near her hands. The background is mottled with warm oranges and muted greens, and the coarse weave of the gunny cloth shows through the paint, making the whole surface feel gritty, tactile, and alive. Painted in 1948 and 1949, the work’s rough support is not incidental as gunny cloth brings everyday materiality into a portrait that is psychologically charged rather than decorative, letting texture and abrasion stand in for uncertainty, restlessness, and emotional friction. In Baij’s image, her forward gaze and lowered, splayed hands read like a body caught mid-decision, perhaps poised between holding herself together and moving forward.
January 26, 2026 at 4:39 PM
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“孟霞女士肖像 (Portrait of Ms. Meng Xia)” by 丁衍庸 / Ding Yanyong (Chinese) - Oil on canvas / 1971 - Long Museum West Bund (Shanghai, China) #WomenInArt #LongMuseum #DingYanyong #丁衍庸 #Ding #ChineseArt #WomenPortraits #art #artText #artwork #BlueskyArt #OilPainting #龙美术馆 #西岸馆 #PortraitofaWoman #ChineseArtist
A painted portrait shows an adult Chinese woman seated against a softly mottled field of green, teal, and warm beige. She has light-to-medium skin with gentle pink shading at the cheeks and along the neck, dark eyes, and black hair gathered into a loose, rounded bob with curled strands at the temples. Her head turns slightly to her left, while her gaze looks off to the right, creating a composed, inward, observant expression. Strong, simplified features like arched brows, a long nose, and full red lips are outlined with decisive dark strokes. She wears a plain white long-sleeved blouse with a rounded neckline edged in a thin dark line; the sleeves billow softly and end in ruffled cuffs. She is modeled with thin washes and visible brushwork rather than heavy layers, so the surface feels airy and direct. Her hands rest in her lap with long fingers. A blush of pink appears near the lower edge, hinting at a skirt. In the upper left corner, the artist’s red inscription includes his name (Ding Yanyong) and a clear date, “31/12.71,” which anchors the portrait as a specific moment recorded with speed and intention. The painting’s power comes from restraint so her posture and gaze carry meaning. The calligraphic contour line acts like structure and emotion at once as it sharpens the blouse’s edges, sketches the hands, and crisply defines the face, while translucent color washes soften everything into quiet atmosphere. The sitter’s averted eyes suggest privacy and self-possession. The explicit dating (December 31, 1971) feels like a closing note to a year, turning this portrait into a kind of witness. Even if Ms. Meng Xia’s biography isn’t widely published, Ding’s economical, attentive, and unsentimental treatment frames her as unmistakably individual, with dignity held in line, silence, and steadiness.
January 26, 2026 at 8:16 AM
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“Kah-béck-a, The Twin, Wife of Bloody Hand” by George Catlin (American) - Oil on canvas / 1832 - Smithsonian American Art Museum (Washington, DC) #WomenInArt #GeorgeCatlin #Catlin #SmithsonianAmericanArtMuseum #SAAM #Smithsonian #NativeAmericanArt #art #arte #artText #AmericanArt #PortraitofaWoman
It’s a bust-length portrait of an Indigenous woman, shown front-facing and centered, her posture steady and composed. She has long, dark hair that falls over her shoulders, and a direct gaze that meets ours. Her skin appears warm brown in tone, softly modeled with light across the cheeks and forehead. Her hair-part and upper cheeks are painted vermilion red which was a widespread women’s custom American artist George Catlin observed. She wears a light-colored hide garment with feathery edging at the neckline and sleeves. Multiple strands of blue and white beads layer across her chest, adding weight and texture. Her hands rest together near the lower edge of the picture, suggesting a seated pose. The background is spare and atmospheric, a muted, open field of color that keeps attention on her face, hair, and adornment. Painted during Catlin’s 1832 journey along the Missouri River, this work records Kah-béck-a (“The Twin”), identified as the wife of Bloody Hand, a chief of the Arikara (Sahnish) people, and painted at a Mandan village. Catlin’s project was to create a self-styled “Indian Gallery” which was driven by urgency and ambition to document Native lives as the United States intensified expansion, forced removal, and the cascading disruptions of disease, trade, and violence. The portrait therefore holds a tension. It offers a rare named presence of an Arikara woman in early U.S. painting, but it is also shaped by an outsider’s framing and the era’s collecting impulse. Even within that constraint, Kah-béck-a’s stillness reads as self-possessed like an image of personhood rather than spectacle. It invites us to consider what is known, what is omitted, and whose voice gets to define the story.
January 25, 2026 at 9:51 PM
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“Portrait of a Maslawi Woman” by مروان فتحي / Marwan Fathi (Iraqi) - Oil on canvas / 2019 - Al-Ghad Radio (Mosul, Iraq) #WomenInArt #MarwanFathi #مروان_فتحي #Fathi #AlGhadRadio #PortraitofaWoman #Maslawi #BlueskyArt #IraqiArt #art #arte #artText #artwork #IraqiArtist #Symbolism #ContemporaryPortrait
A luminous chest-up portrait centers an unidentified woman facing forward, her expression focused and unyielding. Her eyes meet ours directly beneath sharply arched brows and long lashes while warm reds and cool shadows model her light-to-medium skin. A black crow perches close on her left shoulder, looking to the side like a watchful companion. Above, her hair erupts into a dramatic crown of flame-orange and red with whorls, ribbons, and looping marks dotted with bright rings that hover like sparks. Her dress is painted as overlapping, scale-like strokes in greens, aquas, yellows, and coral, creating a shimmering surface that feels protective and celebratory at once. The background melts into soft gold, mauve, and pale green with floating shapes, giving the figure an icon-like stillness inside a dreamlike atmosphere. The title only identifies the woman as being Maslawi (Moslawi), which means “from Mosul” or a person who belongs to the city of Mosul in northern Iraq. Artist Marwan Fathi, a Mosul-born painter and professor of fine arts, made this work after years of living through the city’s occupation and the devastating campaign that drove ISIS (Daesh) out. He has spoken about lasting trauma and still jolting awake at night expecting an airstrike, but his art insists on survival in full color. The crow is a close witness to coercion and fear, perched at the body’s edge but unable to eclipse her presence. The scale-like garment evokes fish skin and the Jonah-and-the-whale story tied to Mosul’s cultural memory. This was especially resonant after the destruction of Jonah’s shrine and turns local history into a symbol of endurance and return. Presented through Al-Ghad Radio’s documentation of Mosul’s cultural revival, the portrait is both testimony and reclamation depicting a woman rendered not as erased, but as radiant, composed, and unquestionably seen.
January 25, 2026 at 7:17 AM
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“Georgia On My Mind” by Jean-Marie Hamel (American) - Oil on canvas / c. 2010s - Northwell Health, Women Who Dared Collection (New Hyde Park, New York) #WomenInArt #JeanMarieHamel #art #arte #artText #NorthwellHealth #WomenWhoDared #PortraitofaWoman #JoannaKerns #WomensArt #WomanArtist #WomenArtists
Painted at an intimate scale, this work showcases American artist Jean-Marie Hamel’s fascination with light and how it can move, soften, or hold emotion so that illumination becomes this portrait’s true subject. The title, “Georgia On My Mind,” borrows the language of remembrance hinting at a private, inward image, as if the woman with light skin and long, loose blonde to light brown hair streaked with warm gold is caught between presence and recollection. She is American actor and director Joanna Kerns, most famous for playing Maggie Seaver, the mom, on the hit 1980s–early 1990s TV sitcom Growing Pains. It’s less like celebrity portraiture than a character study, emphasizing concentration, resilience, and perhaps emotional privacy. Her hair falls over both shoulders, with a single braid on to our right. She wears a soft white blouse with a V-shaped neckline which is painted in broad, pale strokes that suggest folds rather than crisp seams. Her face is turned slightly toward us while her eyes meet ours, giving a steady, guarded expression. Subtle blush warms the cheeks and her closed lips are softly defined. A strong highlight catches her forehead and left cheekbone, while the opposite side of her face drops into shadow, deepening the sense of quiet intensity. The background is an unobtrusive, warm gray-brown field that keeps our focus on her gaze and the shifting light across her features. Hamel (born in Louisiana in 1949 and now based in Santa Barbara, California) describes herself as a visual storyteller. Here, she strips away props and setting to focus on face, hair, and atmosphere, inviting us to slow down and meet Joanna’s steady gaze. Shown through Northwell’s Women Who Dared collection, created to counter the historic underrepresentation of women artists and displayed across Northwell locations with audio commentary, the portrait also quietly argues that women’s stories belong in spaces of care and healing.
January 25, 2026 at 3:16 AM
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“Étude de femme noire avec couvre-chef noir et robe blanche” (Study of a Black Woman) by François Joseph Navez (Belgian) - Oil on canvas / c. 1822-1835 - Musée de la Ville de Bruxelles (Brussels, Belgium) #WomenInArt #BrusselsCityMuseum #FrancoisJosephNavez #Navez #artText #arte #PortraitofaWoman
As an “étude” (study), the painting sits between portraiture and practice for an image made to understand likeness, light, and the fall of cloth, while still granting the sitter unmistakable presence. At the Brussels City Museum (Musée de la Ville de Bruxelles in French and Museum van de Stad Brussel in Dutch), a period label visible on the frame uses outdated, racist terms in both French and Dutch. The museum’s current title shifts to more respectful language, but the sitter’s identity is still not recorded. That tension of careful observation paired with archival silence matters. Belgian artist François Joseph Navez, a leading neoclassical painter and a sought-after portraitist in Brussels, trained in the orbit of French artist Jacques-Louis David and later held a major academic role in the city. Within that world, Black women were often treated as “types” or anonymous models rather than fully documented individuals. Here, her averted gaze and composed posture resist that flattening as she is not performing for spectacle, but quietly, firmly occupying space and inviting us to view the work as both a technical exercise and a reminder of whose names history chose not to keep. She is an adult Black woman shown from the upper chest against a softly mottled gray background. She has medium-deep brown skin and dark brown eyes plus closed lips, relaxed brow, and gaze turned slightly up and to our right. A dark green-black head covering falls in broad, heavy folds around her face while a narrow, beige band wraps across the crown, catching the strongest light. Her simple white dress has loose sleeves and a wide neckline edged with a thin red trim leaving her collarbones and the top of her shoulders bare. Light from our left warms her cheek, forehead, and nose, while the right side of her face and neck deepens into shadow. Brushwork is economical and attentive, prioritizing the weight of fabric and structure of the beautiful face of the unnamed woman.
January 24, 2026 at 7:53 PM
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“Tête de femme de Biskra” (Head of a Woman from Biskra) by Marie Caire Tonoir (French) - Oil on canvas / 1899–1900 - Musée du quai Branly (Paris, France) #WomenInArt #WomensArt #WomanArtist #MarieCaireTonoir #Tonoir #quaiBranly #art #arte #artText #PortraitofaWoman #MuseeDuQuaiBranly #WomenArtists
Made after French artist Marie Caire Tonoir’s winter stay in Biskra, Algeria (بسكرة) in 1899–1900, the portrait sits at the crossroads of intimate observation and the colonial-era “traveler’s” gaze that shaped so many North African images in French art. The title locates the sitter by place rather than name. It’s an absence that matters, yet the painting refuses spectacle with no theatrical setting and just the quiet insistence of her presence. The close, bust-length portrait centers an unidentified young woman against a softly brushed, gray-beige background. Her medium-toned skin is modeled with warm light across the cheeks and nose. Her dark eyes are heavily shadowed, steady, and direct. Fine facial tattoos mark her features including a small motif on the forehead and a narrow vertical line descending from the lower lip to the chin. Her head with dark black hair is crowned with an abundant, turban of dark wrapped fabric that swells outward on both sides. Long, tiered earrings hang beside her face with silver discs above darker, fan-like pendants. She wears a red-brown blouse with a modest opening at the throat, wrapped in a darker shawl. The paint surface is visibly textured, as if the artist worked quickly and confidently, letting edges soften into the surrounding air. Her tattoos and jewelry are rendered with restraint and specificity, suggesting lived adornment rather than costume, while her unsmiling mouth and level gaze read as self-possessed, even guarded. For Tonoir, trained within academic circles and exhibiting in Paris, Biskra offered subjects outside metropolitan life. For the sitter, this moment records a person whose identity exceeds what the archive preserves. Seen now, the work asks us to hold both truths at once: its beauty and dignity, and the unequal power that determined who was named, who was looked at, and how that image traveled.
January 24, 2026 at 7:51 AM
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“Vahine no te Tiare” (Tahitian Woman with a Flower) by Paul Gauguin (French) - Oil on canvas / 1891 - Ny Carlsberg Glyptotek (Copenhagen, Denmark) #WomenInArt #PaulGauguin #Gauguin #NyCarlsbergGlyptotek #PostImpressionism #arte #Tahitian #BlueskyArt #art #artText #Glyptoteket #PortraitofaWoman
French artist Paul Gauguin presents a half-length portrait of a young Tahitian woman seated against a flat, radiant yellow field. She turns slightly to our right, eyes looking past us with a guarded peacefulness. Her skin is warm medium-brown and her dark hair is center-parted and braided over her shoulder. She wears a long-sleeved, high-necked blue-violet dress with a crisp white collar and lace-trimmed cuffs. Behind her, a broad red chair back frames her shoulders, while stylized green leaves float around her like decorative motifs. Her forearms rest across her lap and she holds an orange-yellow blossom with a green stem near her fingers. At the top, the painted words “Vahine no te Tiare” sit like a caption, and Gauguin’s signature and date appear to the upper right. Dark outlines and simplified planes flatten the space, making yellow, red, and cool blue colors do much of the emotional work. Her face is modeled with visible brushstrokes: softly shaded cheeks, a straight nose, and full lips. A small gold earring catches light at one ear. The dress gathers at the chest and sleeves, suggesting weight and heat, yet the background stays abstract. The overall effect is quiet and monumental, inviting us to linger on her expression and on the careful way her hands hold the flower. The sitter’s personal name is not recorded in surviving documentation, but Gauguin did describe her simply as a young "neighbor" who at first refused to pose, then returned later dressed for church, wearing a flower. That detail matters because in 1891 Tahiti was limited by French colonial rule and long shaped by missionary pressure, and the European-style "mission dress" signals imposed norms as much as individual choice. Gauguin’s Tahitian inscription of “woman of the flower” both honors local language and reduces her to an emblem. Viewing the painting today means remembering both truths at once: her undeniable dignity and the people and systems that rendered her identity anonymous.
January 23, 2026 at 9:31 PM
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"RAE" by Cecilia Lamptey-Botchway (Ghanaian–Nigerian) - Oil, acrylic, & mopping wool fiber on canvas / c. 2021 - Nubuke Foundation (Accra, Ghana) #WomenInArt #CeciliaLampteyBotchway #LampteyBotchway #WomenArtists #BlackArt #NubukeFoundation #PortraitofaWoman #artText #IssaRae #WomensArt #WomanArtist
Titled “RAE,” the portrait references Black actress and creator Jo-Issa Rae Diop (Issa Rae), whose work foregrounds women’s equality and Black women’s interior lives. Ghanaian–Nigerian artist Lamptey-Botchway writes, “Some images always invite the observer for a conversation,” and that invitation lives in Rae’s direct gaze and unforced ease. She sits facing us with a comfortable, self-possessed calm. Her deep brown skin is modeled with soft highlights along the forehead, cheeks, and nose. Rae wears large silver hoop earrings and a hint of glossy coral-red lipstick. Her eyes meet ours directly, steady and alert. Her hair is pulled back into a textured puff, revealing her ears and the long line of her neck. She lounges in a dark chair, one arm draped over the backrest and the other hand resting across her lap with fingers relaxed. Her outfit is a vivid cobalt-blue suit with pale gray panels, stitched in thick, looping lines like corded embroidery. Beneath it, a cream top is built from dense, tactile ridges. The raised mopping-wool fibers create a topography across sleeves, lapels, and cuffs. Behind her, a hot pink field is patterned with faint grids and geometric motifs reminiscent of stamped textiles. The repetition almost frames her like a halo of design. At the right edge, a small round table with pink top and pale green base adds a domestic note, while the palette keeps the sitter luminous against the patterned pink backdrop. Oil and acrylic establish the glow of skin and the heat of pink, while mopping wool fiber turns the suit into raised, touchable relief. The artist, a 2015 graduate of the Yaba College of Technology’s School of Art, Design, and Textiles, often draws on cloth-stamping and batik traditions. By weaving a material associated with cleaning into a portrait of celebrity, she makes care-labor visible, insisting that glamour and work belong to the same story. Geometry and repetition hold her presence steady, like a rhythm you can feel with your eyes.
January 21, 2026 at 11:53 PM
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"Doña Mariana Belsunse y Salasar" attributed to José Joaquín Bermejo or Pedro José Díaz (Peruvian) - Oil on canvas / c. 1780 - Brooklyn Museum (New York) #WomenInArt #BrooklynMuseum #ColonialArt #JoseJoaquinBermejo #PedroJoseDíaz #art #artText #BlueskyArt #pintura #PortraitofaWoman #PeruvianArt
This life-size, full-length portrait shows an adult woman with light-to-medium olive skin and dark hair drawn back beneath a jeweled headpiece. She faces forward with a steady, composed expression, framed by a sweeping red drapery and a cool gray interior. Her figure is shaped by an eighteenth-century silhouette, then expanded into a dramatically wide tobajilla (skirt) of blue-and-white striped satin or silk covered with intricate silver-and-gold embroidery. White lace trims her sleeves and neckline. Matching blue shoes fasten with bright buckles over pale stockings. She wears a choker and longer necklace, bracelets, and a chandelier earring with teardrop pearls. In one hand, she holds a folded fan. In her other, she offers a small, ornate watch with a silver-and-pearl pendant above a dark wooden table. Pearls, jewelry, and a vase of flowers sit nearby, turning the scene into a catalog of wealth. Through an arched opening, a manicured promenade with a fountain and distant archway recedes in perspective, anchoring her to Lima, Peru. At lower right, the inscription names her Doña Mariana Belsunse y Salasar, born in Lima, the wife of Coronel Agustín de Landaburrú y Rivera. The Brooklyn Museum frames this portrait as “conspicuous luxury” in Spanish colonial Peru with the tobajilla, jewels, and accessories operating as proof of rank. Beyond the arch is the Paseo dede Aguas and the Plaza de Acho, real Lima landmarks that place her within the city’s public life. The museum recounts that she entered a convent to avoid marrying an older man. Later, she married that man's nephew, the wealthy mayor of Lima for an arc that fueled public scandal. Against that backdrop, the brilliant blue can read as an appeal to virtue, while the tiny watch (held out like evidence) turns time into a luxury object. Attributed to either José Joaquín Bermejo or Pedro José Díaz, the painting fixes her name and reputation in paint now hundreds of years later.
January 21, 2026 at 6:48 PM